The head and neck, most of the right arm, the left shoulder and forearm, the right foot, part of the left foot, the back part of the figure, the attributes, and the seat are missing. The head and neck were made separately and inserted into a rounded cavity in the top of the body. This was also...
The head and neck, most of the right arm, the left shoulder and forearm, the right foot, part of the left foot, the back part of the figure, the attributes, and the seat are missing. The head and neck were made separately and inserted into a rounded cavity in the top of the body. This was also made in at least two pieces. Most of the rear surface of the fragment is a roughly tooled plane sloping forward from top to bottom and from left to right; but on the left side the missing rear block extended forward horizontally at the level of the top of the seat, forming a support for the front block. The tympanon upon which the left arm rested was also carved separately and attached by means of a dowel. There are two large, square dowel holes in the back, one in the upper part, the other in the lower. In the drapery on the side of the left leg, near the junction with the rear block, are three small holes for metal pins which attached some objects here. In the front, between the knees, is a cutting 50 cm long, formed of two planes at right angles to one another, in which a piece of marble was cemented, probably to repair an injury. The surfaces are very worn; perhaps the statue stood in the open air during its sojourn in central Italy. The marble has acquired a handsome, irregular yellow to orange color. The goddess was seated on a high throne, her left foot resting squarely on the plinth in front and her right foot drawn back somewhat. Her left shoulder was raised, and the arm evidently rested on the edge of a tympanon or tambourine. The original presence of this attribute is indicated by the circular plane in the marble under the remains of the arm. A bit of marble projecting from the drapery on her right thigh suggests her right arm was held downward against her side. She wears three garments, an Ionic chiton visible on the right upper arm and shoulder, a long Doric chiton with belt under the breasts, and a himation which may have been carried over the head like a veil. It hangs over the left shoulder, covering the forearm, and was brought around the right side over lap and legs, where it is turned back to fall in heavy folds between the knees. Scientific Analysis: Harvard Lab No. HI232: Isotope ratios - delta13C +2.11 / delta18O -1.83 Harvard Lab No. HI776: Isotope ratios - delta13C +2.44 / delta18O -2.36 Attribution - Carrara, Justification - Fine grained marble.
By 1898: with Edward Perry Warren (according to Warren's records: E.P.W. discovered that it was found at Amiternum (near Aquila) in a field. to the right of the road, the last field before you reach the amphitheatre from Aquila. .....[It was then sold by the owner to a man who took it to Castellamare Adriatico where it was purchased for Warren]. 1898.); 1899: purchased by MFA from Edward Perry Warren for $ 32,500.00 (this is the total price for MFA 99.338-99.542)
Henry Lillie Pierce Fund
Roman, Imperial Period, about A.D. 138–192
Sculpture in Stone (MFA), no. 092; Sculpture in Stone and Bronze (MFA), p. 109 (additional published references); Highlights: Classical Art (MFA), p. 041.
Overall: 188 x 104 x 124cm (74 x 40 15/16 x 48 13/16in.) Block (wooden timber base (8 5/8 x 7 3/4 )): 51.4 x 135.9 x 145.7 cm (20 1/4 x 53 1/2 x 57 3/8 in.) Block (Object sits on a concrete on top of wooden base): 126.4 x 86.4 x 62.9 cm (49 3/4 x 34 x 24 3/4 in.)
Medium or Technique
Marble, from Carrara in northwest Italy